Analog Realism - Sphinx 101 v1.1.1 [MOCHA] VST3 [WIN]

Twelve mechanisms. Always active.

• 01. Bandwidth limited summing amplifier
  Real amplifiers are not perfect. Our simulated summing amplifier operates at extreme frequencies, adding heat
  which no equalizer curve can reproduce because it's not an equalizer, it's physics.

• 02. Tolerances in the manufacture of each component
  In reality, there are no two capacitors with a capacity of 100 Nf. Each component in Sphinx has a randomized tolerance
  within the real characteristics (±1% resistors, ±5% plugs, ±10% transistor gain).
  The left and right channels operate in slightly different patterns — natural depth of sound is not possible when used
  mathematically perfect components.

• 03. Thermal drift
  Three independent slow oscillations modulate the circuit parameters over time. The sound "breathes" — it is never static
  like equipment that was turned on within an hour. The modulation of the values for each component is negligible, but markedly active throughout the chain.

• 04. Power supply bus slack
  When the compressor is clamped hard, it draws current from a common power supply. The voltage on the tire drops
  which affects the power reserve of all other stages and the saturation point. This is the "glue" that makes the analog bus compressors feel
  as a single whole. Each module passes current and reads data from the bus to configure its own operating point
  — double-sided circuit, like real equipment.

• 05. Cross-talk in different communication channels
  Real equipment has a housing, a power supply and a printed circuit board. Signal leaks between L and R are frequency dependent and amplified
  at low frequencies. Sphinx models this relationship, producing a "broad but cohesive" stereo image that cannot be achieved
  when processed monophonically.

• 06. Transformer core hysteresis
  The input transformer uses the Giles-Atherton magnetic model — the same mathematical model that is used
  in electrical engineering for modeling real cores. The transformer remembers the magnetization history, which leads to
  to program-dependent asymmetric saturation, which no static wave shaper can reproduce.
  The harmonic balance of each core is tuned according to the published electrical measurements of the simulated device.

• 07. Accumulation of harmonics in a chain
  Each cascade contributes to the formation of the harmonic spectrum. By the time the sound passes through the amplification stage,
  transformer, compressor, equalizer and output transformer, these harmonics accumulate and interact with each other uniquely
  for a given chain in this way. Measured: All harmonics from H2 to H7 are present with circuit-dependent coefficients.

• 08. Nonlinearity of a class A crossover
  The amplification stage simulates small cross-distortions characteristic of real amplifier topologies.
  The SLL (Bipolar Transistor) generates pure harmonics of odd orders. Amok (tube) generates saturated harmonics of even orders
  with a H2/H3 ratio greater than 5:1. This is the «heat» and «presence» that determine the nature of each cascade.

• 09. Formation of frequency characteristics of crosstalk
  The communication between the left and right channels is not linear — it is stronger at certain frequencies, which corresponds to the behavior of real printed circuit boards.
  This creates a frequency-dependent stereophonic interaction that makes analog consoles famous for their 3D images.

• 10. Dependence of the compressor on the program
  The behavior of the compressor changes depending on what it processes. A Vari-Mu tube compressor that is actively running has
  the gain reduction curve is different from that of a compressor that is idle. The eighth beat of a percussion game in a magnifying glass generates
  markedly different compression from the first lobe. Measured: up to 82% of changes depending on the program.

• 11. Transformer memory
  The saturation curve of the core depends on what signal has been entering it recently. A loud bass note changes the operating point of the magnetic field
  by influencing how the transformer handles the next transient. This «memory» creates a lively, dynamic sound
  which distinguishes real transformers from static saturation curves.

• 12. Interaction of phases between modules
  Each module introduces frequency-dependent phase shifts. They interact with each other along the entire chain, creating barely noticeable ones
  constructive and destructive interference at module boundaries. This is what gives real analog chains their characteristic «depth»
  — a sense of extension that is rare in digital processing.